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Topic History of: So what would YOU do if you owned EMI?
Max. showing the last 5 posts - (Last post first)
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zooloo |
badgerbadgerbadger wrote:
zooloo wrote:
I'd stagger "deals" on offer to artistes - perhaps beginning with cheap/subsidised recording for low runs of 500 CDs and retain [some] long term rights. If there was success they would move up to the next level.
Surely the problem is that acts simply don't need a label's involvememnt to release 500 CDs, and would laugh at the idea of giving up long-term rights in return?
erm... yes 
It's a poor example of what was on my mind - smaller steps rather than an all or nothing deal. Finding cheap ways to develop acts.
Perhaps with short run CDs (More than 500) it's the recording rights that are kept so if the band went on to "hit" the early work would be a source of revenue.
I'm aware there's some obvious holes in the last bit (Coach and horse size holes) but I'm afraid I have lost the ability to thing better due to a mental day... apparently the worst one all year... bloody well hope so  |
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badgerbadgerbadger |
zooloo wrote:
I'd stagger "deals" on offer to artistes - perhaps beginning with cheap/subsidised recording for low runs of 500 CDs and retain [some] long term rights. If there was success they would move up to the next level.
Surely the problem is that acts simply don't need a label's involvememnt to release 500 CDs, and would laugh at the idea of giving up long-term rights in return? |
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DJones |
Does anyone know what happened to the Bowie Bonds? Did Bowie buy them back or did he loose his rights to the investors? |
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zooloo |
JK2006 wrote:
My advice to any act is NEVER sell your catalogue - always retain your rights (as I have done).
If the company/label/producer whoever says then they won't do the deal - go elsewhere.
But in many situations I've been the purchaser of that right in perpetuity - 10cc, Genesis for example.
And I told them exactly what I intended to do (and did) in return for those rights.
Why would I have invested thousands in breaking them without knowing that those rights could keep me in my old age (and 63 is very, very old!)?
I think those artistes made the right decisions - Genesis would not exist were it not for my contribution. By giving up that small level of their ownership, they gained a massive career (and I know for a fact do not resent for a second doing so).
Artistes who do regret such decisions (Prince... Bowie...) usually go on to make crap music for the rest of their lives. Karma kicks in somewhere. Often the ingredient provided in return for that first deal is vital, vital, vital in the recipe that brings success and quality.
That is something artistes often fail to realise.
I'm slightly confused here... are you saying "don't sell your rights" but for Genesis et al selling their rights was good (essential even?) for them?
If so; why was that good for Genesis and bad for Bowie and Prince?
Back to the new model... buying up old catalogues to strip out the saleable stuff is all well and good but where does new material/acts come into play?
One of the things I think hiders the current music business is this "looking to the past" attitude, granted revamping old hits can bring in income but that's one of the things that has lead the business to where it is now. |
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JK2006 |
My advice to any act is NEVER sell your catalogue - always retain your rights (as I have done).
If the company/label/producer whoever says then they won't do the deal - go elsewhere.
But in many situations I've been the purchaser of that right in perpetuity - 10cc, Genesis for example.
And I told them exactly what I intended to do (and did) in return for those rights.
Why would I have invested thousands in breaking them without knowing that those rights could keep me in my old age (and 63 is very, very old!)?
I think those artistes made the right decisions - Genesis would not exist were it not for my contribution. By giving up that small level of their ownership, they gained a massive career (and I know for a fact do not resent for a second doing so).
Artistes who do regret such decisions (Prince... Bowie...) usually go on to make crap music for the rest of their lives. Karma kicks in somewhere. Often the ingredient provided in return for that first deal is vital, vital, vital in the recipe that brings success and quality.
That is something artistes often fail to realise. |
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